SAIC

Susannah Coffey at Steven Harvey Fine Art Projects

Oh, how I wish I could see this show! Susannah Coffey was a professor at my alma mater, and I came this close > || to taking a class with her. It was Figure in the Landscape at Oxbow summer art camp, and she was to co-teach it with Dan…

Treasure Chest: Tips for Improving Your Paintings

Today I'm participating in a collaborative online project with other art bloggers. We are re-posting one of our favorite posts from our blogs. I chose to re-post some notes from art school from way back when...

Ten Free Online Artist Portfolio Sites

Are you an artist with a body of work you’re ready to display online, but you're not yet ready to make the financial commitment for a custom-designed website? Or are you looking at increasing your online presence as an artist in addition to your custom artist’s website? Over the next ten weeks I will be reviewing ten online artist portfolio sites where you can show your work.

RIP: Ray Yoshida, Painter and Teacher

I just learned that Ray Yoshida, one of the Chicago Imagists and one of my painting teachers at the School of the Art Institute of Chicago, passed away this week.

I'm sad and very nearly speechless.

Archive of Notes from Art School

Sketch of cells | Colored pencil | 6" x 6" | © c. 2004-5 Marilyn Fenn --

I started this art blog* to put all of my notes from art school online in one place -- mostly for my own convenience, but if anyone else benefits from my clumsily compiled notes (often with no real date), that's good, too.

The Essence Lies in the Visual Meaning

Copy After Leonora Carrington's "Juan Soriano de Lacandón," 1964 | at the Art Institute of Chicago | Pencil | 7" x 5" | © 1991 Marilyn Fenn --

Class notes from SAIC, 1991

Abstract concepts help to provide visual meaning (aside from subject matter).

Creating Movement Through Color

Painting: Song of the Nightingale by Hans Hoffman 1964, Oil on canvas 84 x 72 inches

Class notes on Color, SAIC, 1992

Strive for awareness of movement from:

  • warm to cool
  • bright to dull
  • repetition to change
  • quiet to noisy

Drawing Masks as Analogies for Self

"Sketch of Sulka Mask, Melanesia, 1900-1910" | Fiber structure covered with pith, feathers and pieces of wood | Drawn at the Field Museum, Chicago | Pencil on paper | 7" x 5" | © 1991 Marilyn Fenn --

Class notes, from Advanced Drawing with Barbara Rossi, SAIC, 1991

Basil, switzerland - Folk Museum - tradition of Carnival prior to Lent; also South Am., Mexico, New Orleans.

Start Where You Are. Move On from There.

Copy after Chagall's "Birth" | The Art Institute of Chicago | Pencil on paper | 7" x 5" | © 1991 Marilyn Fenn --

Class Notes from Advanced Studio Drawing, taught by Barbara Rossi, Fall 1991

Purpose of class: development of personal resources, more inventive with how you represent things; more significant to you.

How to Build a Stretcher (Strainer)

Some detailed instructions on how to build a strainer: Select wood with good, straight endgrain, straight (not bowed), few knots, no critical knots. Cut all pieces to length (2x4's & 1x6's) on miter saw. Set table saw to 15 degrees - rip 2x4's in half (??"), rip both halves of each piece of wood.

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Whether you succeed or not is irrelevant, there is no such thing. Making your unknown known is the important thing.

— Georgia O’Keeffe

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Gallery of Recent Paintings

Untitled 2015-019 - Oil on Canvas - 8 x 8 - © 2015 Marilyn Fenn Don't Look Down - Oil on Canvas - 10 x 10 - © 2015 Marilyn Fenn Composition Number 2, 2013 - Acrylic on panel - 8 x 10 - © 2013 Marilyn Fenn Easter Confection - Oil on canvas - 4 x 4 - © 2015 Marilyn Fenn